“The Idiot” is one of the most moving works of Fyodor Dostoevsky. Obscure to the contemporaries of the writer, but current and understandable for those who encounter it today, it tells the story of a young Russian aristocrat who dares to defend the sublime humanist ideal in a society governed by the laws of free trade. The black sheep of the high society of St. Petersburg, Prince Myshkin is labeled an idiot due to his moral qualities and ultimately loses his sanity. His image as a martyr and visionary, inspired by the magnificent Don Quixote of Cervantes, becomes ingrained in the reader; his tragic end leads him to question where madness ends and the protagonist’s holiness begins, consequently rethinking the very concept of what can be bought and sold in the troubled realm of human relationships.
It is no secret that those who have followed my reviews over the years know that Fyodor Dostoevsky is one of my favorite writers, and the reason for this is simple: He never disappoints me. In The Idiot, Dostoevsky parades a large array of characters to tell the story of Prince Myshkin. It is through various situations, some everyday and others not so much, that Fyodor distills all his socio-political-economic critique, as well as, of course, the religious one; even as an Orthodox Christian, Dostoevsky does not shy away from the inconsistencies of his strictness towards his disciples.
In The Idiot, I felt again that sense of comfort with each gathering of the characters and their often lengthy discussions, but also entirely necessary for the philosophical and metaphysical side that the author always presents in his characters. It is not uncommon for you, the reader, to encounter situations that raise questions about life and its purpose. However, finding answers is another matter and is not explored or subtly resolved.
The author placed through his iconic character, Myshkin, all the innocence that an adult human could have after spending practically his whole life isolated due to his delicate health condition, which had not been much explored until then. Myshkin’s view of life and the people around him is almost poetic, as having lived surrounded by children in the “foreign land,” he ended up “imbibing” the innocence of the children themselves. This leads to various problematic situations for him.
The great hypocrisy of life is also very well demonstrated by Dostoevsky when his character is initially presented as a “nobody,” who is received with suspicion and indifference. In a way, his innocence ends up enchanting some characters who welcome him to a certain extent, but without failing to say that because of this same innocence, he is treated as if he were an idiot.
The great turning point and the accentuation of the so-called human hypocrisy occurs when Prince Myshkin receives an inheritance and consequently alters his social class among his peers. From this point on, his life becomes more complicated, and Myshkin finds himself surrounded by self-interested people who, even often achieving what they desire, do not stop seeing him as the same idiot. This is extremely evident in his relationships with his “relatives” who have always treated him by the title of the work from the very beginning. But perhaps they are the most genuine characters in the entire story, as they never hid this from the prince at any moment.
Dostoevsky also addresses all human fragility in The Idiot. 
Some characters are presented with their terminal illnesses, others with their mental disorders, and many are affected by the fragility of love, which at that time could even lead to death, just like pride and appearance, which are central points of the entire crisis presented in The Idiot, as they serve as a starting point for revenge, hatred, and even attempted murder, themes that are recurring in Dostoevsky’s works.
It is immensely pleasurable to “lose oneself” in the philosophical musings presented in many of the gatherings of the various characters in the plot and also to know that each has their defined purpose in the entire story of the prince. By the way, it is impossible to remain indifferent to the range of characters presented by Fyodor, as together they create a web of feelings and resentments that is impossible, as I said, to disentangle until its resolution. And I say: I will miss these characters.
The Idiot brought me immense pleasure with its seven hundred and twelve pages, especially in this new edition that is part of the new standardization project of Fyodor Dostoevsky’s works, presented by Martin Claret, in the format 16 X 23cm, hardcover, yellowed paper, and font the color of the cover, in this case, brown. A beautiful edition for a beautiful story that is undoubtedly UNMISSABLE.Jeffa KoontzLiterary Criticwww.sagaliteraria.com.br